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The idea was hatched a year or so ago. A new magazine catering to the discerning, fine woodworking enthusiast. It was an idea that slowly developed and at one point became a reality. So a small team and I have been working at this and are happy to announce that the latest issue of WOODSKILLS woodworking and furniture making magazine is now available. Some of the features in this Furniture Maker Edition include furniture maker articles, profiles of accomplished furniture makers, best studio practices, contemporary furniture design, gallery, vacuum veneering, Moxon vise build, sharpening + woodworking strategies, wood selection strategies and social media for furniture makers. The terms studio and workshop are used interchangeably throughout the magazine. WOODSKILLS is a semi-annual publication, published twice yearly in late spring and fall.

As a follower and practitioner of James Krenov style of work and methodology, both hand tool and some machine techniques are included. Although the vast majority of articles refer to hand tools, machinery is not excluded. I find this to be a more realistic approach in this day and age. Machines can do the grunt work whereas hand tools are used to create joinery, shape and finesse furniture components, smoothing surfaces, etc. Advertising is at an absolute minimum and consists of curated advertising, a term gleaned from the art world. Advertising must reflect practices and products that our readers and the team at WOODSKILLS could use or include in their own workshops and studios. Available through woodskills.com (digital) or Amazon (print version) or Blurb (premium print version).

Not long ago, woodworking was considered to be in a downward spiral of diminishing followers and practitioners. The pundits were proclaiming the demise of woodworking as a hobby and how fewer young people were taking up woodworking and interested in building their own furniture. Why bother, with so much commercially mass-produced furniture available at reasonable prices. In addition, style trends come and go and being saddled with an out of style furniture piece became an issue. Staying on top of style trends has become instilled in us through the proliferation of interior design and renovation shows on television. Furniture has slowly become a disposable or recyclable object instead of a heirloom piece to be handed off to future generations. When you think about it, this trend flies in the face of environmentalism and celebrates the creation of even more trash. Out of all this doom and gloom rose the maker movement.

This younger generation of makers has slowly begun to appreciate the creation of things with their hands. The increased waste going to landfills brought awareness to the never-ending cycle of consumerism. Let’s face it, people are much less likely to throw out something they have created themselves. The virtues of designing and making an object has returned people to their heritage of being self-sufficient, inventive and to not be reliant on industrially produced goods. Through handcrafting, people could imprint their own mark on an object and customize the design to reflect their own aesthetic. The current maker movement is simply an evolution of the arts & crafts movement which has defined creative people for countless decades. The maker movement is an updated form of the craft movement where new materials, technology and ideas are incorporated into craft.

A spin off of the maker movement has been the return to creating one’s own furniture. In fact, a large and growing segment of the maker movement revolves around designing and building furniture. The best part of this is how young people have once again embraced the creation of their own furniture for reasons different than in the past. In the past, the younger consumer could not afford furniture so instead built their own. Today, the reasons for building your own furniture revolve around handcrafting, channelling creativity into a furniture design, and the process of creating an object. It isn’t so much about the result but the experience of getting there. Younger makers today are turning furniture design on its ear by shunning age old design constructs and paradigms, and instead embracing a fresh outlook on furniture design.

In the past, bolder and radical furniture designs were the product of reclusive studio furniture makers with limited means of communicating with one another. Today instead, younger makers are informed primarily through social media. Practicality and functionality of design have become the new criteria for furniture design. The furniture of this new generation of makers embraces universality and democratizes design. Social media plays an important part in design today within the maker movement. Through social media, furniture designs have become instantly available to both inform and influence other makers. Through social media, makers can quickly adapt an existing design to their own aesthetic or style. The process of fleshing out designs is considerably accelerated through social media and democratization.

So from what I observe, things are looking up for furniture making and woodworking in general. There is a resurgence occurring in this decades old creative outlet. A new awareness of the virtues and benefits of creating objects using wood as a medium is occurring. I am fairly active on social media and an often awed by radical new furniture designs from this new maker movement. Along with this, the democratization of design will hopefully benefit us all as we can extract elements of shared designs to incorporate into our own work.

I have a small Krenov-inspired cabinet which I have enjoyed for the most part. The drawers not so much. The cabinet is solid beech but long ago the decision was made to make two stacked drawers with walnut fronts to provide contrast to the beech. I realized at the time that the contrast was not ideal, but for the sake of expediency, went ahead to see if it would grow on me. Well it hasn’t. Another idea at the time was to have through-dovetails to attach the drawer fronts to the sides. This provided another level of contrast and introduced yet another wood to the mix. Overall, I wasn’t pleased. So recently I decided to give the drawers a makeover and replace the drawer fronts with something more aesthetically pleasing and to provide not so harsh a contrast. Pic below of original drawer fronts.

My first attempt was to use some highly figured veneer I had stored away. It is commercial veneer so very thin. The veneer itself is beautiful, light in color and would make the interior of the beech cabinet pop. First step was to scrape down the surface of the drawer fronts and glued a piece of this veneer to each. Did this successfully and began to create the mortises for the new pulls. However, there is something about commercial veneer that doesn’t sit well with me and I was not able to get past this. The thickness of the material is paper (thick paper) thin and brittle, too fragile for my taste.

Since it would be necessary to scrape the surfaces to get a polished aesthetic, this was entirely not possible with this thin, brittle veneer. I typically use shop-sawn resawn veneers in my work. Instead, I created some band-sawn ambrosia maple with beautiful figure between 1/16 and 3/32 in. thick. I decided to go ahead with this shop-sawn veneer instead. Next I band sawed the drawer front to the thickness of this shop-sawn figured ambrosia. Applied the veneer to the drawer fronts and I could not be more pleased with the outcome. Shop-sawn veneers are more workable and forgiving with hand tools.

I then created two new wide pulls out of blackwood. A single pull instead of two in the original drawer front. Also decided on eliminating the upper and lower shoulders of the pulls to be able to have them thinner. This would not take away from the figured fronts as much. This step introduced a level of risk in creating the mortises, since there is no drawer pull shoulder to rely on to hide an imperfect mortise.

After some judicious mortising using chisels and a mallet,, then some paring, the drawer pull mortises were created as seen above. The most critical part of this step is to remove the top-most layer of wood; it is so easy to tearout the surrounding wood if the chisel cuts are not clean. Then it is simply a matter of cutting and paring to the correct depth of the tenon for the drawer pull. Contemporary-styled blackwood pull temporarily inserted below.

So very happy with the outcome and will be completely replacing the doors of the cabinet next. I intend to use veneered figured wood for the doors, similar wood (Ambrosia Maple) as the drawer fronts. I plan to write a detailed article about this in the next issue of WOODSKILLS Magazine

The idea was hatched a year or so ago but other projects came first. A new magazine catering to the discerning, fine woodworking enthusiast. It was an idea that slowly developed and at one point became a reality. So a small team and I have been working at this since the month of January and are pleased to announce that the latest woodworking and furniture making magazine WOODSKILLS is now available. Some of the features in the magazine are articles on hand tool use and techniques, profiles of accomplished woodworkers and furniture makers, best studio practices, contemporary furniture design, gallery, tool discussions. The terms studio and workshop are used interchangeably throughout the magazine.

As a follower and practitioner of James Krenov style of work and methodology, both hand tool and some machine techniques are included. Although the vast majority of articles refer to hand tools, machinery is not excluded. I find this to be a more realistic approach in this day and age. Machines can do the grunt work whereas hand tools are used to create joinery, shape and finesse furniture components, smoothing surfaces, etc. Advertising will be at an absolute minimum and consists of curatedadvertising, a term gleaned from the art world. Advertising must reflect practices and products that our readers and the team at WOODSKILLS could use or include in their own workshops and studios.

I thought to write about the dichotomy occurring in present day woodworking. The clash between the growing movement towards traditional hand tool woodworking versus the rise in automation along with a plethora of machinery to expedite woodworking processes. This is from the perspective of a traditional woodworker wondering about how much current woodworking technology to embrace in his studio practice. I write this because today we are bombarded on two fronts in woodworking. Go traditional with hand tools or go modern with the latest in technology or somehow combine the two. I lay out how I determined my own compromise and how I came to terms with the dilemma.

The machinery I speak of is becoming increasingly sophisticated to where an operator sitting alongside a CNC machine can quickly create components for a piece of furniture. At the hand tool end, the debate swirls around what constitutes traditional woodworking. Should wood be prepared and dimensioned by hand? Should this grunt work be performed by machines with the emphasis then shifting to hand tools? Can the use of power tools be combined with hand tools in a truly traditional woodworking shop? Would our woodworking forefathers have embraced machinery if it had existed in their historical period?

Interestingly, elements of this debate also occurred during the advent of the Industrial Age in the late 1800’s. The reasons then to not embrace machinery were somewhat similar. Machines were thought to remove the human touch and craft component from furniture. Skills which had been passed down through generations of woodworkers would be lost. Victory was achieved with the advent of the Arts & Crafts movement, but this was short-lived. Eventually, the use of machinery in woodworking won the battle resulting in the further distancing of woodworkers from their traditional craft. Over 100 years of woodworking production advancements later and traditional woodworking is once again being embraced. The reasons are similar to the repudiation of the Industrial Age with the only difference being that we are today on the cusp of full automation in production woodworking manufacturing. Developments to facilitate and expedite production are occurring at a faster pace than ever before.

So, although it seems strange today to embrace traditional hand tool methods, it is more relevant in light of the possibility of forever losing a centuries old craft. Thumbs up to the many private schools dedicated to teaching traditional hand-oriented woodworking skills today. Traditional woodworking has effectively ceased to be taught in mainstream schools, fewer and fewer parents immerse themselves in woodworking to pass down to children. Some have mentioned the traditional craft is on its death bed. Woodworking taught in schools today tends to focus on automation and heavy use of machinery. In the big picture, the resurgence of traditional woodworking methods using hand tools could not occur at a better time in history!

I must admit that it can be confusing for an entry level woodworker of which path to follow today. Is their work intended to be batched out or instead created as one-offs? The larger issue becomes the processes used to achieve this goal. The use of modern technology can be enticing, where visions of machines magically create components for furniture never ceases to amaze. Machinery manufacturers are constantly upgrading their offerings to where the learning curve for CNC is rapidly diminishing. This would be at the extreme end of full automation. At the traditional end, new and often improved releases of traditional hand tools continue to occur. High quality and precisely machined hand tools are widely available today. The single most common and necessary component in the traditional, hand tool equation is the necessity to manually push or pull a hand plane, saw or chisel in order to prepare wood, smooth wood or to create joinery. So a large component of manual labor is involved.

A woodworker with many years of experience may have come to terms with the direction they wish to follow. In many cases, they embrace a quieter, less hurried form of woodworking. Their woodworking passion is better served in the enjoyment of creating a piece rather than simply achieving the end goal. Instead, somebody just starting out will perhaps wonder why today they should be performing manual tasks such as hand planing, hand sawing boards and creating joinery by hand. After all, isn’t this why machinery was created, to facilitate the processing of boards used in furniture making? Hasn’t the trend in industry always been to make our jobs easier and more productive?

This is the dilemma facing many woodworkers today, specifically new woodworkers. I don’t pretend to have a solution and can only form an opinion through many years of experience in both camps. As a former hi-tech person and convert to a quieter form of woodworking, I would much rather work with traditional, time-proven methods than to embrace the latest in machinery whose goal is to make my life easier. I too faced this dilemma and have been minimizing the use of machinery in my woodworking. In the process, I have since learned to appreciate wood as a medium and not just to use it as a means to an end. The only machines I use today are effectively motorized hand tools, nothing sophisticated. This is where I draw the line.

In my studio practice, it is preferable for me to be closer to the wood and work with its characteristics and inherent beauty. Today, I use machines to prepare wood in the initial stages and to dimension it. Afterwards, all processes in my furniture making incorporate the use of hand tools. I will always seek a method to use a hand tool to perform a task before ever considering using a machine. So this is how I have come to terms with the question of maintaining traditional methods in my own work. I find this to be the best compromise in coping with an ever-increasing fast-paced, technological and production-oriented world.

After completing and successfully testing the portable board jack in the previous post, I decided to continue on with workbench workholding accessories. At this point, two clamping attachments came to mind. The first, an edge dog, alternatively known as a bench puppy, was modelled after a College Of The Redwoods derived design. This particular design was gained from a Timothy Coleman article on this type of workholding device, also derived from a College Of The Redwoods design.

The premise of the edge dog is to use both the edge of a workbench top and one dog hole to hold a board on edge. This is performed through a unique design that hangs off the edge of the workbench top. When used in conjunction with a tail-vise, the edge dog excels at clamping the free end of a long or wide board along the edge of a workbench for jointing or other bench operations.

The edge dogs are customized to the spacing of the dog holes on a workbench, this would be the distance from the edge of the workbench to the leading row of dog holes. The measurement I refer to can be seen in the following images. I applied a leather face to the edge dogs and also drove a reinforcing wedge into the 3/4 in. dowel. The edge dogs are a combination of beech and maple, essentially what I had lying around in these dimensions.

A good example of how an edge dog can be used to hold a board on edge can be seen in the following image. One end is held by a edge dog whereas the other end is an add-on to a twin-screw vise which I discuss next. Instead of clamping a board to the surface of a workbench, the edge dog is used to clamp the board along the workbench edge and therefore at a more reasonable and lower height suitable for handplaning. Having a pair of these edge dogs allows either side of the workbench to be used. The edge dogs are created with opposing configurations as shown above.

My current workbenches do not incorporate dedicated tail vises. In place, I use a Veritas Twin-screw vise which performs as a tail vise when clamping boards on their face. When it comes to clamping boards on edge, the twin-screw vise can also be used along with bench dogs. The edge of the workpiece would be then sitting on the workbench top. However, this raises the height of the board considerably and is not very conducive to handplaning or jointing an edge of a board. Ideally, the edge of a board should be slightly higher than the workbench surface to effectively perform handplane operations. With this in mind, I created this outboard add-on to the twin-screw vise which extends the width of the vise movable jaw past the edge of the workbench.

Shown above, this newly designed outboard add-on accessory is an addition to the twin-screw movable jaw. In effect, the vise now becomes an enhanced tail vise capable of clamping boards on edge along the side of a workbench. The clamping is done in conjunction with the previously mentioned edge dog. Images of a board being clamped between these two accessories are shown below.

In these photos I am jointing the edge of a white ash board. I was surprised at how tightly the board is clamped with minimal tension applied to the twin screw vise. The friction from the leather pads contribute to this as slightly more tension was necessary before applying the leather pads. The outboard extension to the twin-screw vise is removable and can be adapted to either side of the twin-screw vise. I am left-handed so having it located to the right of the vise as shown, is more practical. For right-handed use, the opposite edge of the workbench would be used for jointing. As an added bonus, there is no racking of the twin-screw vise regardless of the clamping pressure I apply to the outboard extension.

Soon after completing the Moxon Vise project and creating the illustrated drawings, build steps, images, video… I decided to work on a few other workbench accessories.

Workbench accessories – any workbench add-ons that facilitate the holding and clamping of boards or panels. Boards or panels can be mounted on their edge and along their length. You get the idea…

Workbenches can be large in size, massive in weight and beautiful looking but their ability to hold and clamp boards is one of their most important criteria. So holding or clamping a long, wide board along its length can be a challenging tasks of a workbench. In an earlier workbench I incorporated a sliding board jack that worked in conjunction with the face vise. This has and continues to work well since I had built this workbench from the ground up and allowed for the addition of the sliding board jack. With two of my newer slab-type workbenches, adding a sliding board jack was much more of a challenge. I did not want to modify the workbenches or drill screw holes through the tops. Adding an apron or skirt with dog holes along the length of the workbench top was an option, but this involved modifying the workbench itself.

Enter the portable board jack. I designed it to easily attach to the underside of a slab-type workbench top where it serves to support the free end of a long plank or board. It can either be left attached to the workbench or removed when no longer necessary. It can also be moved across the length of the workbench, relocated to the opposite side of a workbench, or moved to another workbench. The nice part is no modifications are necessary to the workbench.

After a period of testing, I was pleasantly surprised at how well it works. It is completely unobtrusive and designed to accept standard 3/4 inch or 20 mm accessories such as surface clamps, bench dogs and shop-made planing stops. The portable board jack can be adapted to any slab-type workbench top without an existing apron or skirt as can be seen in the images. A face vise at one end keeps the board securely clamped on edge. Jointing the edge of long boards has become so much easier and second nature to me now.

The hole arrangement on the portable board jack is optimized for the work I do but can be modified if necessary. I no longer give any thought to attaching or clamping a long board on edge and along its length to my workbenches. Often, I simply need a peg to be able to rest the free end of a board on. This allows me to quickly and easily flip the board around to work both long edges.

Now, I just selected my most-often used side of a workbench to work on and leave the portable board jack attached. In the future, I will possibly be creating another board jack for my other, similar workbench. This adds to the versatility since it will no longer be necessary to move the board jack from bench to bench.

Next up in the forthcoming installment or Part 2, a couple of cool bench accessories that continue with the theme of attaching and clamping long boards to a workbench. These are boards that are too long to simply clamp to a face vise. It just makes it so much more pleasant to perform handplaning or hand tool tasks once a board or panel is securely clamped. I like for this to be straightforward so I can focus on the task I need to perform instead of spending needless time on securely attaching and clamping a board to a workbench.

Follow our Board Jack Plan and build your own portable board jack. The portable board jack is designed to hold work along the front edge of a workbench. The board jack works in conjunction with a face vise to hold long boards or panels for handplaning or other bench operations. The board jack is both versatile, portable and self-aligns to the workbench top. It attaches to the underside of any workbench top with a slab top. It is easily adaptable to a workbench top with a thickness between 1 1/2 inches to 3 1/2 inches.

The board jack is easily positioned along a workbench surface. The position depends on the length of board to be supported on edge. The board jack design originated from a need to clamp the opposite end of a board along its edge while handplaning. With a long board clamped in the face vise of a standard workbench, there is no support at the other end of the board. Unless your workbench is designed with a horizontal apron or skirt and dog holes, it is difficult to support the end of a long board along its edge. When not in use, the board jack is quickly and easily removed and stored beneath a workbench.

An alternative is to incorporate a sliding board jack beneath the edge of a workbench top. Although this is an option, it is necessary to design the workbench with this complex feature. The portable board jack is instead designed to attach to the underside of a slab type workbench without any modifications to the workbench. All that is necessary are at least two dog holes close to the front edge of the workbench. You will also be able to easily clamp long, wide panels along the front edge of a workbench using the portable board jack. The portable board jack is designed to be versatile. It can be placed anywhere along a workbench top where dog holes are accessible.

The portable board jack is attached to the workbench top using standard bolts. Quick-connect bolts allow the board jack to be quickly removed or installed, as well as attached to another area of the workbench. Several bench holding accessories can be used with the board jack including bench dogs and surface clamps.

Comprehensive information, board jack techniques, large photos and (16) detailed computer designed diagrams (CAD) included with the board jack plan purchase. Images and illustrations of attaching the portable board jack to a workbench are also included.

Follow our Moxon vise plan and build your own portable Moxon twin-screw vise. The portable Moxon vise is designed to hold work above the standard height of a workbench. The Moxon vise design is widely attributed to a Joseph Moxon. Joseph Moxon (1627 – 1691), was the hydrographer to Charles II English printer specialising in mathematical books and maps. Moxon’s 17th century book The Art of Joinery first described the double-screw vise. In this historical publication the Moxon vise was documented – a double-screw held to a workbench top with clamps or holdfasts in order to facilitate certain work.

A regular bench height at 35-36 inches is optimized for handplaning operations. When performing fine sawing and other detail work, a higher work surface is preferred. An elevated height of the workpiece enables you to have a clearer view of the wood that is being sawn. Instead of having to stoop down to a workpiece on a regular height workbench, the Moxon vise raises the height of the workpiece to where it is comfortable to work on without strain. You will also be able to easily clamp long, wide panels to the side of a workbench using this vise. The Moxon vise is designed to be both versatile and portable. It can be placed anywhere on a workbench top where dog holes are accessible. When not in use, the Moxon vise can easily be stored upright against a wall.

A normal bench height is in the area of 35-36 inches. With the Moxon vise clamped on to the surface of the workbench, an increased height of 41 inches is achieved. The additional height is a game changer when performing detail work. This Moxon vise design also has a small table set up as an extension in the rear. The small table can be used for mallet work and to rest tools. This Moxon vise design is attached to the workbench top using holdfasts and dog holes. Holdfasts excel at quickly clamping down jigs and workpieces to a workbench surface. The Moxon vise has been adapted to allow for holdfasts to clamp it down as can be seen in these images. Alternative methods exist to clamp a Moxon vise to a workbench, but this is the quickest, cleanest and most unobtrusive method.

Although the hardware and holdfasts used in this Moxon vise build is off the shelf, the plan can be modified for your own hardware and your own holdfasts. Once you have an understanding of Moxon vise concepts, adapting the design to suit your specific work methods is entirely possible.

Comprehensive information, Moxon vise techniques and video, large photos and (14) detailed computer designed diagrams (CAD) included with the Moxon vise plan purchase. Images, video and illustrations of attaching the Moxon vise to a workbench are also included.

The Moxon vise build continued and the vise was completed a couple of days after beginning the project. There was a considerable delay in determining the optimum length of the vise. This actually held me back since making it too short is essentially non-correctable later. Too long and there is a weight penalty as these Moxon vises tend to be heavy, especially with the Benchcrafted solid iron handwheels. Although the extra mass and weight can be your friend when clamping boards down, portability of the unit is also a consideration. I would need to determine the size of panels I most often worked with. In my work, I never go over about 20 inches in width so I set this as optimal distance between the screws. Then, using guidelines on screw hole placement provided in the Benchcrafted instructions, a final length of 28 inches was decided on. I did follow the suggested screw hole placement in the Benchcrafted instructions, this saved some time. Next was to mark the 3/4 inch screw holes and begin drilling, careful to have the holes in the front and rear jaws perfectly aligned.

Mortising for the captive nut in the rear jaw inside face was performed using bevel-edge and mortise chisels. Hard maple is well.. hard! In this case, the mortise chisels excelled at hogging out material from the 3/4 inch deep mortise. With a softer hardwood, lighter bevel-edge chisels would have been sufficient. I also oriented the nut so it would align well with the long edges of the rear jaw, mostly an aesthetic consideration.

After test-fitting the Benchcrafted hardware and ensuring it worked smoothly, the next step was to attach a large block of wood to the rear. This block of wood would both stabilize the vise assembly and allow holdfasts to be used to clamp the Moxon vise to the workbench top. Several other intermediate steps were performed, always careful to get alignments exactly correct. There is almost no room for error in making these vises since replacing either of the jaws is both time and material consuming. A more in-depth article on how I made this Moxon vise will be available at the web site soon.

A table extension and vertical support was then added after ensuring the stabilizer was effective at clamping down the Moxon vise to the workbench. The table allows me to extend horizontal boards for marking..i.e. dovetails. I customized the design to use an extra row of dog holes in the center area of my workbench. I have two of these workbenches set as my primary workbenches, so the Moxon vise will be completely portable between benches. The vise can also be located almost anywhere on the workbench surface as the holdfast locations are optimized to clamp the stabilizer block of wood at rear of the vise. I am using Gramercy holdfasts but any holdfasts can be set up for use with the vise.

More detail of the handwheel, screw, and captive nut can be seen above. The table is reinforced below both long edges for maximum support, this to allow for any mallet work. i.e. chopping out dovetails. A large design consideration was to not make the Moxon vise too heavy as I would often be removing it from the workbench top and/or moving it between workbenches. The table size was optimized for this vise and the type of work I do. When designing your own Moxon vise, you will need to determine the size of boards and panels you most often work with. The overall length of the Moxon vise is the most important consideration in its design, it is best to get it right the first time!

I am in the process of writing a more extensive article on this Moxon vise build and will publish it soon at the web site.

So I decided to build myself a Moxon vise over the holidays. Business slowed and I had the time to get going on this project. A Moxon vise was something on my mind for quite some time, it was simply a case of finding time to make it. Some time was spent on research to determine which version best suited my work methods. It is essentially a straightforward build, but critical to get it right to ensure the time and material investment is put to good use.

I’m not 100% sure of the origins of the Moxon vise design, but it is widely attributed to Joseph Moxon. Joseph Moxon (August 1627 – February 1691), hydrographer to Charles II English printer specialising in mathematical books and maps. Moxon’s 17th century book The Art of Joinery first described the double-screw vise. In this historical publication was documented the Moxon vise – a double-screw held to a workbench top with clamps or holdfasts in order to facilitate certain work.

The main criteria for me was to be able to hold work above the standard height of a workbench. Rather than piece together the hardware for the vise itself, I opted for the Benchcrafted Moxon Vise hardware kit as it includes everything mechanical. I would need to supply the wood and shape the vise jaws (chops). This would be for the basic vise. A more complex version with an additional work table behind the vise would involve several more steps. The overall length of the Moxon vise I decided on will be in the 28 to 32 in. range.

So after deliberating on the design, I simply went at it and worked on the front and rear jaws. Not having 8/4 stock available to me, I opted to laminate some 4/4 maple pieces instead. In the past, I have had success with the strength and stability of 4/4 boards laminated together. In selecting the boards, I mixed the grain orientations up so each of the laminated boards would counter the grain of the other board. This, in my opinion, balances out the internal stresses of the woods and keeps it all straight and stable. Laminating one of the jaws here with 4/4 boards. As they say, one never has enough clamps. In the pic above, this was almost the case, but it worked out. I do have other clamps, but for the most part, they are lighter.

Several years ago, 2006 to be exact, Michael Dresdner contacted me to ask about profiling my work and practice in an upcoming Woodworker’s Journal online publication. Of course, I jumped at the opportunity to talk about my woodworking and how I got to where I was at the time. I was transitioning from primarily being a box maker to furniture making and the reasons for this shift in direction were discussed in the interview.

In that period, I had completed a series of courses at a high-end furniture making school and began to use hand tools more in my work. I recall that the year 2006 was an important juncture in my woodworking. I had embraced the Krenov philosophy and his methods of work. Reading and attending the fine furniture making school inspired me to increase the complexity and scale of my woodworking. I also learned to slow down my woodworking and focus instead on each and every piece rather than applying myself to creating in batch mode ( multiples). So my direction changed dramatically in the years 2006-2008 to where I now design + build one-off furniture pieces exclusively.

The most important takeaway from the interview would likely be the last line: “If you are tired of your day job, Pirollo advises, do what I did. Pursue your passion instead.” I completely believe in this quote to this day. It is never to early to pursue your passion. Get a head start, so if unforeseen circumstances affect your livelihood (career), you will be prepared. Early on my hi-tech career, I pursued many woodworking courses at the college level, set up my own workshops and struggled and worked at learning woodworking. After experiencing a total of 3 downsizings, I gave up on my hi-tech career and moved on to a career in woodworking. This had been my Plan B all along 🙂 The important part is that I was well prepared to launch a second career. You never know where fate will lead you!

– Hand Tool Class can be Downloaded or Streamed
– over 3.5 hours with extra $24.00 in plans
– 24 video lessons from workshop basics to critical hand tools skills
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– Dovetail Jig Plan + Tutorial ($12 value) included in purchase
– Shooting Board Plan + Tutorial ($12 value) included in purchase

The video lessons include step by step hand tool sequences. Each lesson guides you through the learning process to develop the hand tool skills you are seeking. This Hand Tool Class is derived from twenty years of woodworking and furniture making expertise. The class is based on skills developed and used in a fully functioning furniture making studio. The class features separate modules on the following topics:

– setting up a workshop for woodworking
– up to date information on workshop safety
– hand tool overview
– lessons on handplanes and chisels
– lessons on clamps, hammers and handsaws
– lessons on marking gauges, rulers and squares
– learn to create handmade dovetails using a dovetail jig
– learn to make and use a shooting board
– learn to make and use bench hooks
– dovetail jig plan + shooting board plan ($24 value)
– hand tools class covers everything you need to get going with hand tools

For a limited time, receive WOODSKILLS Issue 01 & 02 (digital) $16 value with purchase of a class or course.

Norman maintains a blog of ongoing projects in his studio at Pirollo Design Blog as well as having written and published four books in the past year. Some of the books and magazines where authors furniture, work methods and philosophy have been featured:

I have recently compiled a series of 16 videos into an online class. The subject was a recent display cabinet. The design and build of the striking Krenov-inspired display cabinet seen above is discussed and demonstrated. The contemporary styled display cabinet features veneered sides and doors. The veneers selected are highly figured although they can be substituted with alternative veneers. The frame and panel back adheres to the Krenov principle of properly finishing the back of the cabinet. James Krenov is widely known for his classic cabinets on stand as well as the incredible attention to detail he brought to furniture making. He also brought a unique philosophy and vision to furniture making of which I heed and practice. A large part of this veneered display cabinet has been created using an assortment of hand tools although some machinery is used in the initial wood preparation stage. Follow me as I describe the steps involved in creating a masterpiece veneered cabinet on stand.

The following topics are covered in detail in this 16 part design and build class:

Inspiration and design of the display cabinet

An overview discussing components of the cabinet

Wood selection and resawing veneers used in cabinet

The advantages of using veneers over solid wood

Detailed information on creating and using resawn veneers

The process of applying veneers to the sides and doors

Implementing bake-ins to create panels with hardwood edges

Hardwood edging and the veneer press

The veneer press and joinery used in the cabinet

Card scrapers and the use of a shop-made drilling guide

Dowel drilling guide in-depth

The case construction process

Frame and panel construction of the back panel

Back panel detail and installation

Final case assembly of the display cabinet

Installation process of knife hinges for the doors

Each video segment addresses one aspect of the cabinet build. The design process as well as the methodology behind the build are addresses. This is not simply a class on how to build a cabinet on stand. The class will inform you of a similar design process that James Krenov used in his own work. Since I am an ardent follower of James Krenov, the practices I use in this cabinet build closely follow those of James Krenov. Discussions and demonstrations describe how the design of this display cabinet originated and the design considerations in its build. Information on wood selection and preparation as well as the joinery used in this cabinet is covered in detail. Tips and techniques acquired over several years of creating this style of cabinet are shared in this class. The process of creating and applying veneers is covered as well as information on the installation of knife hinges. More info in the Tutorials section.

In this 16 part video class, the design and build of the striking Krenov-inspired display cabinet seen above is discussed. The contemporary styled display cabinet features veneered sides and doors. The veneers selected are highly figured although they can be substituted with alternative veneers. The frame and panel back adheres to the Krenov principle of properly finishing the back of the cabinet. James Krenov is widely known for his classic cabinets on stand as well as the incredible attention to detail he brought to furniture making. He also brought a unique philosophy and vision to furniture making of which I heed and practice. A large part of this veneered display cabinet has been created using an assortment of hand tools although some machinery is used in the initial wood preparation stage. Follow me as I describe the steps involved in creating a masterpiece veneered cabinet on stand.

The following topics are covered in detail in this 16 part design and build class:

Inspiration and design of the display cabinet

An overview discussing components of the cabinet

Wood selection and resawing veneers used in cabinet

The advantages of using veneers over solid wood

Detailed information on creating and using resawn veneers

The process of applying veneers to the sides and doors

Implementing bake-ins to create panels with hardwood edges

Hardwood edging and the veneer press

The veneer press and joinery used in the cabinet

Card scrapers and the use of a shop-made drilling guide

Dowel drilling guide in-depth

The case construction process

Frame and panel construction of the back panel

Back panel detail and installation

Final case assembly of the display cabinet

Installation process of knife hinges for the doors

Each video segment addresses one aspect of the cabinet build. The design process as well as the methodology behind the build are addresses. This is not simply a class on how to build a cabinet on stand. The class will inform you of a similar design process that James Krenov used in his own work. Since I am an ardent follower of James Krenov, the practices I use in this cabinet build closely follow those of James Krenov. Discussions and demonstrations describe how the design of this display cabinet originated and the design considerations in its build. Information on wood selection and preparation as well as the joinery used in this cabinet is covered in detail. Tips and techniques acquired over several years of creating this style of cabinet are shared in this class. The process of creating and applying veneers is covered as well as information on installation of knife hinges.

Includes 16 separate video modules. Each video module addresses a component of the cabinet build. Detailed video sequences and methodology on how to build this display cabinet are included when you purchase the cabinet build class.

– Cabinet Build Class can be Streamed or Downloaded
– Separate Introduction module
– 16 video modules from design, veneering, edging, joinery, back panel
– Video modules can be followed in any order and stopped or repeated at any time
– All 16 video modules (2.7 hours) included in the single $29 price

For a limited time, receiveWOODSKILLS Issue 01 & 02 (digital) $16 value with purchase of a class or course.

Total Cost: $29 (Stream or Download).

Purchase corresponding display cabinet plan. Over 35 detailed computer designed illustrations (CAD) on building display cabinet included in purchase of plan. Includes detailed photos and information.

Display Cabinet Plan $12 (Download)

Norman maintains a blog of ongoing projects in his studio at: Pirollo Design Blog as well as having written and published four books in the past year. Some of the books and magazines where authors furniture, work methods and philosophy have been featured:

In this new course, I cover the furniture design topic. Good design is essential in a quality furniture piece. Good design also minimizes wasted resources and provides a furniture maker with essential feedback and pause when creating furniture. Loosely translated, the design process keeps the maker from rushing into a potentially flawed furniture design. The checks and balances give pause to the process as well as streamlining the build. Developing your own furniture style and aesthetic is covered. Selecting the right woods for a furniture design is critical in determining the appeal of a furniture piece.

As with most woodworkers, I was anxious to build furniture early on. With the passage of time and several furniture project completed, the anxiety of simply creating work had passed. It was far more important to create a well-designed and striking piece of furniture. So I delved into furniture design, studied with a few renown furniture makers. and used this knowledge to establish a furniture design process that works.

With the limited time we have available today, it becomes critical to use it productively and efficiently. Developing a good furniture design saves time and resources and provides a more rewarding furniture build. Getting the proportions right is also essential in establishing the appeal of the furniture piece. So I am passing on my knowledge of furniture design in this new course and hopefully establish a dialog of furniture design with participants in the course.

Norman Pirollo, wood artist at Pirollo Design, describes his exciting transition from furniture designer + maker to wood artist. The journey involved philosophical decisions about which type of work quenched his creative urges. The shift in direction also involved alternating between purely functional to non-functional, decorative work. Norman reveals how he transformed his designs from purely functional furniture to non-functional wood art where form is preeminent.

Norman also recounts his fifteen year creative journey where he would strive to seek creative outlets. Working as a multidisciplinary artist ultimately became his vocation. Follow the riveting story of how a furniture designer + maker evolved into a multidisciplinary artist including contemporary furniture, sculpture, wood art and photo art. The video below is a retrospective of some of his recent work. The evolution includes the introduction of curved elements and colored wood at different junctures.

Read how Norman, through determination and perseverance, finally attained his goal of becoming a wood artist. Delving into and studying art history has provided him the art language and background to develop his own art vision. Discover how he immersed himself into the contemporary art movement to develop a style and voice of his own. Find out how, through twists and turns, Norman acquired the skills and techniques to become an award-winning wood artist. The opportunity to work at something he truly enjoys has ultimately brought him solace and independence.

Norman maintains a blog of ongoing projects in his studio at: pirollodesign.com as well as having recently written and published four books. Books and magazines featuring the authors furniture, work methods and philosophy:

I’ve been working at writing a book on an off these past few months. Only recently has the final title been decided on: The Wood Artist: Creating Art Through Wood. The book chronicles the evolution of my wood art and sculpture over several years. Several discoveries about wood are noted. I am excited about this book as this particular subject is part of the continuum of my second career as a furniture maker and wood artist. A few years ago, I never would have envisioned being part of the art world. It is through the medium of wood that I stumbled into it. One thing led to another and soon I developed a sufficient body of work to make serious inroads into the art world. Shifting from creating functional furniture to creating purely non-functional, non-objective art was challenging at times. At the same time, the creation of art unleashed a newfound creativity and vision that could not be manifested through my furniture designs.

This is more than simply a picture book. In it I discuss the methodology and processes I developed to be able to create small and large pieces of wood art. As well, discoveries about the inherent characteristics and beauty of wood are discussed. Both sculptural and wall art are part of the journey. The wood art and sculpture closely follow the genre of contemporary art. It has been an exciting period in my career as both a woodworker and wood artist. I continue to work at both today. The book is 215 pgs. in total. So I created the video below as a retrospective of some of my recent work. The evolution includes the introduction of curved elements and colored wood at different points. Currently it is in the final stage of completion. The final version is being printed at this time. The book is targeted for publication on October 11, 2017.

Uniquely designed wall art in a three dimensional contemporary styling. Highly figured quilted maple evokes a unique depiction. The wall art is raised and set in a black frame to provide three dimensionality and depth. All surfaces are hand planed and scraped to provide meticulous attention to both detail and finishing. Finishing performed utilizing a classic French Polishing technique.

Uniquely designed sculpture in a three dimensional contemporary style. This organic sculpture depicts a raging inferno and is composed of a combination of highly figured maple, clear maple and a rosewood base. Meticulous attention is provided to detail and finishing. Finished with multiple coats of thinned shellac in a French Polish process. This process maintains the clarity and depth of the figured woods and draws out the natural undulating graphics.

Uniquely designed sculpture in a three dimensional contemporary style. This organic sculpture depicts a rising flame and is composed of highly figured maple with a rosewood base. Meticulous attention is provided to detail and finishing. Finished with multiple coats of thinned shellac in a French Polish process. This process maintains the clarity and depth of the figured woods and draws out the natural undulating graphics.

Uniquely designed sculpture in a three dimensional modern style. This upper part of the sculpture is a tapered pie-shaped cross-section of an African blackwood tree which includes the lighter live edge or bark portion. The base of the sculpture is sliced from a mesquite tree. Meticulous attention is provided to detail and finishing. The wood is not stained and attains a natural patina over time and with exposure to ambient light. Finished with multiple coats of thinned shellac.

Uniquely designed sculpture in a three dimensional modern style. This sculpture is a cross-section; of an African blackwood tree which includes the lighter live edge or bark portion. The natural organic shape of the sculpture displays the beauty which nature has provided us. The base of the sculpture is sliced from a mesquite tree and outlines the natural growth rings which have accumulated over time. Meticulous attention is provided to detail and finishing. The wood is not stained and attains a natural patina over time and with exposure to ambient light. Finished with multiple coats of thinned shellac and polished.

Uniquely designed mixed media sculpture in an art deco style. Angular cherry sides combine both stepped form and chevron design elements. The triangle shaped center has a blackwood inlay. This combination of art deco style elements symbolizes a cupping or holding in reverence of the center component. Metal serves to join the center piece to the sides. The base is solid blackwood. Surfaces are hand scraped and formed. Meticulous attention is provided to both detail and finishing. The wood is not stained and attains a natural patina over time and with exposure to ambient light. Finished with multiple coats of thinned shellac, polished and waxed.

Uniquely designed sculpture in a three dimensional modern style. This sculpture depicts a shrine and is composed of a combination of big leaf maple, ebony, stone and blackwood. Meticulous attention is provided to detail and finishing. The wood is not stained and attains a natural patina over time and with exposure to ambient light. Finished with multiple coats of thinned shellac.

Uniquely designed sculpture in a three dimensional contemporary style. This organic sculpture depicts a rising flame and is composed of highly figured maple with a rosewood base. Meticulous attention is provided to detail and finishing. Finished with multiple coats of thinned shellac in a French Polish process. This process maintains the clarity and depth of the figured woods and draws out the natural undulating graphics.

Uniquely designed wall art in a three dimensional contemporary styling. Highly figured quilted maple evokes a unique depiction. The wall art is raised and set in a black frame to provide three dimensionality and depth. All surfaces are hand planed and scraped to provide meticulous attention to both detail and finishing. Finishing performed utilizing a classic French Polishing technique.

Uniquely designed wall art in a three dimensional contemporary styling. Highly figured maple evokes a unique depiction. The wall art is raised and set in a platinum frame to provide three dimensionality and depth. All surfaces are hand planed and scraped to provide meticulous attention to both detail and finishing. Finishing performed utilizing a classic French Polishing technique.

Uniquely designed wall art in a three dimensional contemporary styling. Highly figured quilted maple evokes a unique depiction. The wall art is raised and set in a black frame to provide three dimensionality and depth. All surfaces are hand planed and scraped to provide meticulous attention to both detail and finishing. Finishing performed utilizing a classic French Polishing technique.

Uniquely designed wall art in a three dimensional contemporary styling. Highly figured quilted maple evokes a unique depiction. The wall art is raised and set in a black frame to provide three dimensionality and depth. All surfaces are hand planed and scraped to provide meticulous attention to both detail and finishing. Finishing performed utilizing a classic French Polishing technique.

Uniquely designed wall art in a three dimensional contemporary styling. Highly figured quilted maple evokes a unique depiction. The wall art is raised and set in a black frame to provide three dimensionality and depth. All surfaces are hand planed and scraped to provide meticulous attention to both detail and finishing. Finishing performed utilizing a classic French Polishing technique.

Uniquely designed sculpture in a three dimensional contemporary style. This organic sculpture depicts a rising flame and is composed of highly figured maple veneers with a rosewood base. Meticulous attention is provided to detail and finishing. Finished with multiple coats of thinned shellac in a French Polish process. This process maintains the clarity and depth of the figured woods and draws out the natural undulating graphics.

Uniquely designed sculpture in a three dimensional contemporary style. This organic sculpture depicts a rising flame and is composed of highly figured maple veneers with a rosewood base. Meticulous attention is provided to detail and finishing. Finished with multiple coats of thinned shellac in a French Polish process. This process maintains the clarity and depth of the figured woods and draws out the natural undulating graphics.

This past week while camping I toured an authentic 1860’s pioneer village in the area. We camp in the same area each year and try to visit Upper Canada Village while there. With each visit I learn something new or pick out a detail I missed on previous visits. One favorite stop is the authentic sawmill which continues to produce boards to this day. Most of the wood is used within the village. Watching the water-powered bandsaw in operation continues to amaze me. The innovative features built-in to process logs into boards are nothing short of ingenious. There is also a system to use trucks on wheels to transport logs in , then roll them onto the bandsaw platform for ripping. The videos below shows the bandsaw in operation and water turbine at the lower level. Blade is stationary except for up and down movement. The log is advanced into the blade through a system of geared steel wheels and detents. The bandsaw is powered by a shaft driven by a turbine wheel. The water is piped in to the sawmill through a system of square wood pipes which increase the velocity of water to spin the turbine. Water begins at one height when entering the sawmill and exits at a lower level. This is what causes the water to increase in velocity. The bandsaw mill works well with old growth white pine brought in from another area.

Another favorite stop is the authentic cabinetmaker shop where furniture is continually churned out, albeit at a much slower pace we are familiar with. Most of the furniture produced in the shop is used in the authentic pioneers village. All furniture is created with hand tools as relatively no woodworking machines existed in this era. The Industrial Age was just beginning. Watching the cabinetmaker (David Jones) and apprentice provided a real appreciation for a slower, manual form of woodworking.

So I had the opportunity to do a short film of David Jones (resident master cabinetmaker) and apprentice. I asked a few questions while filming. They are currently working on a side table with frame and panel doors and drawers. All joinery is either pinned mortise and tenon or dovetails.
I have probably visited this Cabinetmakers shop four times to date and continue to enjoy discussing with the resident cabinetmakers their work methods and current projects.

I then visited the blacksmith shop which also doubles as the ferrier shop for the horses in the village. Had a good talk with the blacksmith. At the time he was forging a keyway for a geared wheel in a piece of machinery used in the crop fields of the village.

In 2005, I developed this system of bench stops as a simple alternative to installing a tail vise on a workbench. So I’ve been using this system of bench stops for 12 years now, it will be the 12th anniversary shortly! The system is set up on one of my original workbenches which happened to be my main workbench at the time. This particular shop-made workbench did not lend itself well to incorporating a tail vise so I told myself there had to be a better way to hold boards firmly while hand planing. Apologies for the vintage photography, but I wanted to keep the article period correct 🙂

This alternative tail-vise setup is used when face planing boards. Most flat, regular benches can easily be modified to incorporate this hand planing setup using bench stops ( Roubo style). Photos below are of the bench stop setup on the workbench in my workshop. This bench has been modified for adapting the two bench stops. Adapting a bench can be expanded for longer bench stops, more holes for versatility, etc. I chose this particular hole spacing for the type of work I do. I am also left-handed and plane left to right, therefore I set this up on the back side of my bench which is unencumbered by a face vise ( the face vise at front of bench ).

It is critical to get the 3/4 in. dowel holes square to the bench and in-line with each other, to ensure that the 12 in. bench stops are perpendicular to each other. The side bench stop does a great job of preventing the board from rotating sideways while hand planing with diagonal strokes. It has a large bearing surface to keep any size board from rotating. The side bench stop is also movable within a 12 in. span on 3 sets of holes, allowing for narrow boards and wider boards (2 in. to 14 in.).

The side bench stop can be swung around towards the front bench stop with a parallel set of holes, this is to accommodate shorter boards. Pictures above and below provide a better explanation.

The wide front bench stop also serves to prevent the board from rotating or shifting sideways as it has a large bearing surface for the front edge of the board. Bench stops (front and side) are friction fit so they can be raised (1/4 in. to 3/4 in.) to accommodate thicker boards, very much like a bench dog. Otherwise, the minimum height of the bench stops would be approximately 1/4 inch. The hole spacing is arbitrary and based on the type of board sizes I typically hand plane in my own furniture making. two inch long birch dowels are glued in the bench stops using ebony wedges. The wedges are inserted into kerfs created in the ends of the dowels for tightness. Kerfs at the ends of the dowels are cut on a bandsaw.

A benefit of having a board simply against bench stops is that you really cannot drag the plane back in your strokes since it would pull the board back. This trains you to lift the handplane instead of dragging it back. The only wear on the blade then is from the forward stroke. Also you eliminate the tendency of bowing a thinner board caused by clamping between bench dogs and tail-vise and distorting the board while planing. You also gain more tactile feedback and control of your planing and it becomes easy and quick to re-orientate the board end for end or flip it over, etc.

Typical bench stop setup to act as a tail vise.

More holes can be added to allow for very short boards as done in bottom pictures. It is then a matter of swinging the side bench stop around towards the front bench stop. The spacing and location I have selected is optimized for the length and width of boards I typically handplane in my furniture making.

The bored 3/4 in. holes can also be used for bench dogs and holdfasts for irregular sized pieces.

Align side bench stop to be perpendicular with face of front bench stop using a large square to mark holes. This will ensure the complete edge of the bench stop is against the board to be planed.

Side bench stop set to narrowest width, closest to edge of bench.

Bench stops can be raised or lowered as conventional bench stops for thinner or thicker boards.

A short, narrow piece of lacewood being planed.

Parallel set of holes bored to accommodate shorter and wider boards shown above. It is recommended to lay out all the holes you will need for this system and then drill them. This ensures that all holes are square and perpendicular to each other and the front bench stop.

A small, wide panel being face-planed.

Developing this alternative tail vise idea led to an article on bench stops and jigs I wrote for Fine Woodworking Magazine. The article 4 Bench Jigs for Handplanes was published in early 2009.

The concept of a maker’s mark is not a new one. It has been around for centuries. It is a means to distinguish one’s work from another maker. It also adds a personal touch to every piece created by a maker. I have incorporated maker’s marks in my own work for the past two decades and have had excellent feedback from clients. Clients love the fact that the furniture piece they purchase is created by an individual. It adds to the cachet of the piece and serves to provide identification of the origin of the piece. Decades from now, the maker’s mark instantly identifies the furniture piece as created by a particular maker with the location of its creation. The new maker’s mark designed for my studio captures the essence of my work and the detail I like to instill in my work.

So I also use the new maker’s mark for my other work, namely woodworking tools. I find a place on each tool to inlay the maker’s mark. In a strange way, adding a maker’s mark inspires me to do my best work. Attaching my name to a furniture piece or handmade tool makes me more conscious of how the tool or furniture will likely be passed on from generation to generation.

Furniture maker’s marks also provide a historical point of reference to a piece of furniture or tool. The maker and country of origin can then be traced back to a particular maker. Maker’s marks can be stamped on a furniture piece or hand tool or created as brass inlay similar to this new one applied to my work.

I hope everyone is enjoying the summer. It is my favourite time of year. I can shed the layers of clothing of other seasons and simply walk out the door. No complaints here about heat or humidity. This only really lasts a few weeks or months and the freezing cold alternative is always fresh on my mind 🙂

A while ago, I realized that my workflow would be more efficient if I had the means to cut long planks into manageable pieces. Longer planks ensure that wood graphics are consistent in the woods used in a particular furniture piece. The shorter pieces would, in turn, be processed on a jointer and thickness planer. In the case of highly figured tearout-prone woods, I would use a series of hand planes to achieve the desired board thickness.Until this time, I would crosscut large planks using a hand-held circular saw. If any precision was necessary at all, the circular saw left something to be desired. So enter the miter saw. I purchased a sliding miter saw and designed and built a stand for it. The criteria for the stand were that it be portable so I could move it around the shop if necessary. It was also important that it be designed to be folded up after use and placed along a wall. The intention was to have the miter saw available occasionally for cutting large planks down to size. I only ever work with one or two planks for a particular piece of furniture, so the miter saw could be put away between use. A few wide boards I use in my furniture can be seen against the wall at left.

I designed and built this miter stand for my particular miter saw, a Dewalt 10 in.model. The miter saw itself can easily be detached from the stand and the table surface folded onto the metal sawhorses below. Since this would be a custom build, I could make the miter stand as long as I like. I decided on a length of over 7 feet. The left and right tables each have a fence system aligned with the miter saw fence. The largest width of planks I could process is approximately 10 inches. This is as wide as most, if not all of the planks I ever use in my work. Anything wider I can either rip an edge off or find alternative means to cross-cut it.

Each fence has its own track system with both shop-made wood stops and retail metal stops. I uses the torsion box principle to build the left and right tables. Even with the utmost design in mind, it was necessary to make changes. When wide miter cuts were necessary on large wood pieces, it would be convenient to use the miter saw. This hold more true if the cuts are repeatable as when working with multiples. Swinging the saw completely to the left or right was an issue. Hence the re-designed mitered corners in both the left and right tables. I can set the saw to extreme miter angles now, greater than I would normally use in my work. So after replacing the corner of either table with hardwood cherry blocks and trimming, the mitered corners can be seen below.

I have been using this miter saw and stand setup for a long while now. I never did fold and put it away. It is so convenient that I prefer it to remain set up. Soon after using it for the first few times, I realized dust control would be necessary. A dust port adapter was set up to connect the exhaust port to a dedicated shop vacuum. Still debating whether I need to make a dust shroud for it, but it works well as is and I like that the miter saw isn’t hidden in a shroud. Overall, a fun, exciting build and at times challenging!

I’ve been working on the components for a standalone cabinet lately. As well, working on the design of a second smaller cabinet with a unique focal point, to be discussed later. The cabinet on stand below features one of my favorite figured woods, domestic ambrosia maple. I have a small stash of this wood in planks so the decision was made to resaw the wide planks and create veneers. Veneers maximize the yield from the planks. The cabinet will have veneered front doors and side panels. The remainder of the cabinet, the top and bottom panels and back panel consist of conventional maple. Ambrosia maple, when finish is applied, exhibits a beautiful, warm color while accentuating the wild graphics it is renown for. The graphics are what draw me to ambrosia maple. Also, it is a member of the soft maple family, so not difficult to work with and to smooth the surfaces. One of the attached pics is an earlier cabinet I completed using ambrosia maple throughout.

I have yet to decide on the finish of the current cabinet build, definitely something that will highlight the wood graphics.The other pics are the almost completed panels I will be using in the build. The veneered panels are not exciting at this time, but application of a penetrating clear finish will pop the graphics, colors and grain. The frame and panel back is a work in progress at this time. The interior compartments will also be different but consist of dovetailed drawers in an unusual arrangement.

The dimensions in the current version will be close to that of the earlier version since the proportions appealed to me. I have not yet designed or created the components for the stand, so this might be different than the earlier version. What I typically do is build the cabinet, then begin work on the platform or stand. The process is not as overwhelming to me using this approach, as I prefer to work on a project in stages. The satisfaction of seeing tangible progress in the project motivates and excites me to continue 🙂 More details to follow on the individual components and joinery used.

I’ve been adding videos to my new YouTube Channel WoodSkills for a few weeks now. Through the channel, I hope to convey my methods of work as well as enlightenment in the use of hand tools in woodworking. In the most recent series, I describe a shop-made slot mortiser. On the topic of furniture design, good design is essential in a quality furniture piece. Good design also minimizes wasted resources and provides a furniture maker with essential feedback and pause when creating furniture. Loosely translated, the design process keeps the maker from rushing into a potentially flawed furniture design. The checks and balances give pause to the process as well as streamlining the build.

Other videos discuss hand planes,shooting boards and bench hooks. These are essential tools I use in my own workshop. Once familiar with these tools, your woodworking will arrive at the next level. Feel free to subscribe to the YouTube channel WoodSkills as I will be posting at least one new video per week. These past two weeks are the exception as I have been travelling. An overdue vacation in the Rocky Mountains of Canada 🙂

A few months ago I was notified that my entry had been selected for an upcoming book on contemporary furniture. I finally managed to get hold of the book and received it this week.

The Schiffer publication: Rooted: Creating a Sense of Place: Contemporary Studio Furniture features a selection of contemporary furniture typically created in furniture studios by a single maker.

Quote from Amazon.com: “The movement to buy locally, which has gained momentum in the areas of produce and food, is now spreading to arts and crafts. Through the work of over seventy contemporary furniture makers, the role of place in the creative process is explored and celebrated. Whether in terms of materials, inspiration, or the interaction with customers, these artists are rooted in their surroundings. What springs from these roots is usually unique, often edgy, and always beautiful furniture and accessories.”

In a few weeks, I will post the Introduction to a series of videos on Furniture Design. Working and developing this project as we speak. It began as a small exercise but I’m adding material and more of my knowledge on furniture design principles to this topic.

With the experience of my first workshop in mind, dust control became a priority for me when designing my new workshop. I recall not only sweeping the floors in my previous shop but also sweeping the walls of dust. The dust was the flavour of the day, be it walnut, padauk, cherry, mahogany. The dark, exotic woods were the worst for dust. I installed some dust collection but it was never enough. At the time, my woodworking was more oriented towards the use of sanding in the final stages of a build, so this didn’t help. The dust collection I installed was to capture the dust at the source or as it was being generated. This worked to a degree but there would always be airborne dust floating around, a by-product of whatever wood processing I was performing at the time. This is the dust that collects on walls, stays in the air and is unfortunately breathed in.

To combat this I built a 3-stage air cleaner as there were next to no commercial units available at the time or they were expensive. This helped considerably in capturing the airborne dust and I immediately became a believer in effective dust control. The shop made air cleaner can be seen here as well as a 3-stage commercial unit just above it. The shop made air cleaner is now moved into my new workshop and together these units effectively clean and circulate the air. Both units are stack-mounted in an unused part of the shop above a stairwell. The air in the shop is recirculated from top to bottom many times per hour and in the process scrubbing the air of fine particulate dust. I use these air cleaners in conjunction with two large capacity DC systems with blast gates at each of the stationary machines in the workshop. So dust control is an important part of my woodworking now. My woodworking today also places much less emphasis on sanding and instead I use hand tools to smooth surfaces of wood.

The air cleaners are turned on using a hand-held remote control. The most recent addition is the large red neon pilot lamp which indicates that the air cleaners are running. When I am using a machine, it is difficult to tell if the air cleaners have been turned on since the machine noise exceeds that of the air cleaners. The newly-installed red pilot lamp is immediately noticeable. The air cleaners also have ducting at the rear to direct air downwards to create the recirculating pattern for the shop air.

Not the most exciting blog post but I finally got around to cleaning out the piles and piles of offcuts I had been storing throughout my workshop. What brought this about is I literally had run out of space, piles were brimming with wood offcuts of every size. It gets to a point where it doesn’t make sense to keep collecting the wood, I’ll only generate more anyway! So how to go about this task since the most difficult thing is parting with an offcut that might be of use in a future project as this is instilled in us as woodworkers. As we all know, hardwoods have become expensive so the offcuts become more precious as time goes on. After all, they have already been processed, planed, squared, etc. Pics reflect the post-tidying, uncluttered look.

I began by tackling two large grey bins that were literally overflowing. I could not place one more scrap piece in them. The laborious task of sifting through them began. It was much like an archaeological dig of past projects. Each layer reminded me of an earlier project and once I got to the bottom I could see some of my earlier work. I moved the larger pieces to two large cardboard boxes to be stored away in a completely different part of the building. The remainder I intend to use as fireplace kindling. Once I got through the first grey bin, the second one was easy. I conditioned myself to be discriminating and if I thought the offcut was not worth saving, it would become kindling. It has been at least 3 years since these bins have been completely emptied.

Next were 3 other wood piles that had grown to an unwieldy size. One pile in particular beneath my vacuum pump had become an eyesore. This had to get sorted out. I recently purchased a new shop vac and the box it came in was a large enough size for these longer offcuts. Next issue was where to place the box. If I kept it in plain view I would have accomplished nothing except move wood offcuts from one pile to another. I needed to find an unused space, preferably out of sight. The space behind a dust collector was not used and just the right size. The large box of offcuts was also placed on a small dolly with casters I had lying around. Now I can conveniently access these longer offcuts and if necessary easily move the box to a different location.

With this all done, I tackled the shelves under two of my larger workbenches below. It is so true what they say that these shelves eventually become storage for anything and everything. By now I was merciless, I wanted clean surfaces free of clutter. This exercise also provided me the opportunity to get re-acquainted with some buried tools and hardware 🙂

The last task was to clean the tops of the two smaller, identical workbenches below. In one case, the workbench top had not been cleaned in maybe 3 years. Everything was removed from each of the two workbench tops and put back in its place, be it drawers or cabinets. From now on I will work hard at leaving workbench surfaces free of clutter and deal with offcuts as I work through a project. After all, I have enough offcuts already to last a lifetime. Will I ever use them all, probably not. Maybe donate them to woodworkers that create smaller objects?

Last but not least is a large beast of a workbench I made years ago (seen below). I had moved this workbench to an area of the lower level workshop and it has slowly become a storage area with occasional use as a workbench. I need to tackle this area next and cull some of the wood, tools and hardware accumulated over the years. I have always enjoyed using this workbench and want to make it available once again. So I will be cleaning and tidying up this area up tomorrow with the intent to have a usable workbench once again.

My process for creating and fitting drawer pulls is outlined here. This involves designing the pulls, selecting the preferred wood to use for the pulls, deciding on a size for the pulls, laying out the pulls, and shaping them. I need to admit this is one of my most enjoyable processes of a build. The build is at its final stages and this can be considered the “adding the icing” part. Pulls often add considerably to a cabinet both in aesthetics and design. The pulls are often a draw to the cabinet if they complement the cabinet yet impart a unique addition to the cabinet. In these photos, the pull design I is a rectangular one with a tenon extending out. The pulls are of mixed cocobolo so both heartwood and sapwood create an appealing contrast in colors. The tenon has shoulders on four sides to overlay the drawer front. This tenon fits into a matching mortise in the drawer front. The mortise is marked and created using hand tools, namely small, narrow chisels.

Creating the tenon is meticulous work and I used a small, fine saw to delineate the tenon from the actual pull area. Once this is done, I use a skew rabbet block plane and some small chisels to shape the sides of the tenon. The important part of this sequence is to accurately mark the mortise to fit the tenon. A mistake here could ruin the drawer front or involve a re-design of the pulls to correct the error. The tenons of the drawer pulls fit tightly into the mortise and then glued in. I also take some time to orient the drawer pull graphics and orientation to match each other.

After completing and installing the drawers pulls I proceed to adding a pull to the right door of this particular cabinet. This door pull is similar to the drawer pulls to maintain harmony in the design. This design involves one pull on this door to distinguish this door as the one to open first. I’ve always liked the idea of having a single pull on the cabinet front, it just looks like a clean, minimalist design. This door pull is also slightly offset towards the bottom of the door to minimize any impact it might have on the door graphics as more of the door graphics are now visible above the door pull.

Tech in wood joinery meets handcrafted design + build. Top is a mortising unit, below is a micro-adjust created using traditional methods. The story follows. I purchased this Jessem Mortise Mill unit a few years back and although I managed to produce some loose tenon slots successfully, it was not easy to set up. I can’t recall the issues exactly, but I was frustrated at times. So recently found the unit buried under a secondary workbench and decided I would make an effort at getting it to work successfully. I had always wanted a horizontal slot mortiser setup and thought why not set this up to create slots in the horizontal plane instead of the vertical plane. The unit was marketed to be installed vertically with board placement underneath. Notice the etchings on the Mill are upside down. I’m not sure if having boards hang below the unit contributed to the issues I had at the time, but nonetheless I wanted to mount it so loose tenon slots were created horizontally. First pic is before building the micro-adjust unit.

Next step was to find a suitable platform, i.e. workbench surface to be able to mount it. A rolling cart in my workshop was ideal since I could wheel the unit away when not in use and the footprint of the Mortise Mill was not large. The rolling cart has large locking casters which do a good job of keeping the cart immobile. Installed it so the surface of the base plate was even with the surface of the cart, this took some time. I used large enough 1/4-20 bolts to maintain rigidity and keep it from shifting.

Tested it afterwards and I was pleased with the results. The later addition of a L-shaped wood bracket to support stiles while they were being mortised worked well. The ends of rails to be mortised were easily supported by the wood surface of the rolling cart. Further testing with clamping of boards provided me with a repeatable setup. I liked the fact that I could permanently leave the Mortise Mill bolted to the rolling cart.

The only small issue was the vertical adjustment of the slots on a board. Since the Mortise Mill was installed horizontally, the adjustment was not as smooth as I would like due to the weight of the sliding component of the unit. I decided to make a micro-adjust setup to alleviate the problem using some scrap walnut and maple. As can be seen in the pics, it is all wood construction with a 1/2 inch lead screw and wood handle. The end of the lead screw has a custom cradle contoured to fit the bottom edge of the sliding part of the Mortise Mill. Now I can precisely dial-in slot placements!

Since the micro-adjust was cantilevered off the vertical posts of the rolling cart, I beefed up the supports, it’s probably over-engineered now. Things to watch are the exact placement of the tip of the lead screw over the center of the edge of the Mortise Mill for smooth operation. A large paddle switch for the built-in Mortise Mill dust collection was installed for convenient access.